I seriously doubt that this story is going to resonate with anyone more than a movie like Annie Hall. This includes people from Manhattan, too. In the same self-flagellating gesture, Allen yet again sums up that customary (for his circle) romantic relationships are perpetuated by nothing more than foolhardy children, who half of the time don't know what they want and the other half lament not knowing.
Gordon Willis has finally shown him all the ropes, helping him make probably one of the most striking black-and-white pictures of the 1970s. Exceptional blocking and amazing work with shadows and silhouettes. The direction and cinematography probably absolve the movie of the myriad things I have issues with. If Annie Hall was unassuming but effective, then Manhattan is so caught in its menagerie of cuckholds and hypocrites that by the end, Isaac's relenting smile means 10 times less than a peeping shot from a cafe. I also do not enjoy anything about the cast's performance beyond the theme they are play-acting. Not from Hemingway, not from Michael Murphy. Even Keaton feels like she is just imitating her previous character, with less presumptuousness and creativity in the portrayal of the doomed relationship. But I guess people would eat Woody Allen alive if he had animated cutaways and comical flashbacks in this one too.
